Zone Magazine Issue 033 - Jan Johnson

How are you? What’s been
happening in your world recently?
How much has 2020 affected you?
2020 Lockdown at first frightened me, I was
thinking what now…no gigs, therefore no bumping into new
producer djs which would always turn into new
collaborations, new songs for me to write and record, so it
was daunting…but then as everyone was straight jacketed
they fought back and I began to receive lots of music
compositions from many dj producers to write too….
So, since April I’ve been in the middle of writing recording
frenzy which astounded my head…as I had lots more clarity
in it, with not running around gigging. Paul Sawyer sent me
three pieces of orchestration I’ve since written and
recorded those with him the titles being…1.Circle 2.One
Step Beyond 3. Right Place, Right Time.
I am constantly writing if not for my collabs for
myself to have songs ready… for any opportunities the
planet might throw my way..
Let’s take you back to the ‘90s for a
minute. Talk us through that first
interaction with Brian (BT). Did you
know his work? How random did it
feel this American producer
contacting you after he found your
music in a bargain bin?
Yes BT changed the course for me as he had found
a single of mine in the bargain bucket…I won’t say the bin…
which was Paris..my B Side was calling your Name…we
arranged to send him those vocals as he said he fell on the
floor when he put that song on…how ethereal it was and it
was destined for the dance floor with his touch, it was
received so well and loved…it was a song I wrote about my
father’s faith originally. I hadn’t met or seen BT play so I
went off to the Hacienda and was blown away…
‘Remember’ is one of his finest
pieces, and certainly a stand out on
ESCM. Tell us about the recording
process? Did you have any
expectations for it?
I went into the studio in Manchester, and co wrote
REMEMBER with BT… Paul Oakenfold absolutely loved
Calling your Name and then this new song Remember so he
arranged for me to fly to BT’s studio in USA and I co wrote
FLESH and LULLABY for GHIA for his album ESCAM… and
we have continued to write together through the years..in
fact we had just spoken not long before lockdown to
arrange for me to get out to his studio to write together
and Covid messed it up like a lot of things with regards
travel but it’s on our bucket list…
me to meet Paul Van Dyk who I went on to write 4 songs
for his REFLECTIONS album he made my time in Berlin
amazing and massively memorable…
Of course, Big Pappa was knocking
on the door soon after. The story
behind ‘Skydive’ is fascinating, how
complete was the track when you
became involved? Did it’s sound
have any bearing on your song
writing or was it the other way
around?
I met and wrote with Cosmic Gate with
Anthony Pappa our SKYDIVE song and the
SUBMERGE TRACK I co wrote TAKE ME BY THE
HAND..these early songs opened the door for me to
work over all these years with amazing new and old
friends, I was young happy and now I’m a little older and
happy…emmmm..a little older, at that same time I was
writing with Jamie Myerson for my artist album EMERGING
more acoustic based but some songs were mixed for the
floor. This period was a very very happy time…I’ve been
blessed and continued to write and work with outstanding
producers
With regards Skydive I truly don’t remember if the
music composition changed much after I wrote the story
and melody to accompany it, as I don’t look at the overall
sound when I’m in the writing phase it’s the chord structure
and it was a beautiful transition of chords… easy for my
verse bridge chorus formula… afterwards of course once
the producers have the voice melodies flowing through they
embellish where it’s needed to support the story melody.
Talking of song writing, talk us
through a typical project. When
you’re working with new people
how much of those initial
conversations do you have to feel
them out as professionals before
you’re comfortable to begin writing?
I’ve heard a lot of horror stories in
the industry…
With any new piece I listen to, I don’t look at who
the artist is behind it I’m truly listening to the music so I’ve
been working with very fresh young to the board guys and
those with longstanding careers, and my formula is the
same.. I’m never given a title, the music tells it’s story and
I listen and construct my story through the age old verse
into bridge to set up a chorus, with a middle 8 into chorus
to fade so always plenty of content for the guys different
mixes….
As my time on tour with him and the guys allowed